Photoshop cs5 cho nhiếp ảnh gia part 62 pptx

it took some time and experimentation, but at last she figured out how to create multiple exposures of as many images as desired in Photoshop.. Simulating Multiple Exposures It is possib

the ways to combine images in Photoshop are infinite the only limit is your imagination!

Tr y It! Open the images called Texture and Flower on this book’s companion website, www sybex.com/go/photoshopnature, or open two of your own images, and practice combining them using various blending modes Remember to reduce the opacity of the texture layer so it doesn’t overpower the image

Digital Multiple Exposures

ever since ellen was exposed to some of freeman Patterson’s in-camera film-based

creative multiple exposures, she decided there had to be a way to create the same effect

digitally although some methods were available on the internet, none worked reli-ably and well it took some time and experimentation, but at last she figured out how

to create multiple exposures of as many images as desired in Photoshop since then nikon has offered the ability to create multiple exposures in some of its cameras, but most other camera manufacturers have yet to follow suit

for those not familiar with freeman’s techniques, he uses film and takes mul-tiple images (9, 16, or 25), moving his camera slightly between shots sometimes he moves the camera in a vertical or horizontal direction, depending on what would be

a natural movement for the subject sometimes he zooms the camera between shots, and at other times he combines zooming the camera with rotating it slightly between shots the results are artistic, soft-abstract renditions of familiar subjects (similar to ellen’s image in figure 9.40)

Figure 9.40 Multiple exposures can render familiar subjects in pleasing, artistic, abstract ways.

Note: To learn more about the in-camera and artistic techniques for taking multiple exposures,

see Photo Impressionism and the Subjective Image by Freeman Patterson and André Gallant (Key Porter

Books, 2005)

to use a digital camera to create multiple exposures, you can still shoot the orig-inal files in raW then batch-process the images in aCr so that all are adjusted the

same way (as described in Chapter 3) Be sure to remove dust when possible although

normally you could go ahead and open the files, there is a potential problem; the issue

is memory for example, with a Canon 1DsMkii camera, each 16-bit converted file is

roughly 95MB if you have 9 or 10 images to combine, your multiple-exposure file is

going to be close to 1GB in size before you do anything else to it You’re going to need a

lot of raM and hard drive space to deal with files that large if you don’t have enough

memory, you can convert the raw files to JPeGs first by choosing save in the raw

con-verter Create the composite using the JPeGs and then save the composite as a tiff

that way, you’ll maintain image quality and maximize the use of your computer’s

resources

Note: Sometimes Photoshop is a little disbelieving that you’d want to open 10 images at once and asks you whether you’re sure you really want to open that many If you don’t have a lot of memory on your machine, you may need to resize the files or use them as JPEGs out of necessity

the steps to combining multiple images within Photoshop are as follows:

1. Choose file > scripts > Load files into stack

figure 9.41)—that will defeat the purpose!

Figure 9.41 Using a script to layer

all the images is far more efficient than doing it manually

8. for a fourth layer, reduce the opacity to 25%; a fifth layer is 20%; a sixth layer

is 17%; a seventh layer is 15%; an eighth layer is 13%; and a ninth or tenth layer is 10% (see figure 9.42)

Figure 9.42 Reduce the opacity of

each layer according to how many layers you are combining to create abstract expressive images

Note: The trick is to set the opacity for each layer according to the number of images you are using If you are using two images, the first is 100% and the second is 50%—that is, 100 divided by 2

The third layer’s opacity is 100 divided by 3, the fourth is 100 divided by 4, and so on

layer, which you may want to set at Overlay or soft Light to add a little punch

to the image

can adjust the color using any of the color adjustment layers

Simulating Multiple Exposures

It is possible to create digital multiple exposure images in Elements, but because the Load Files into Stack command is not available, it takes a bit of extra work Replace Step 1 from the pre-ceding process as follows:

1. Open the bottommost image

2. Open the second image

3. Select the Move tool, and while holding the Shift key, drag image 2 onto image 1 You must hold the Shift key for proper image alignment

4. Close image 2 and repeat Step 3 with the remaining images

Simulating Multiple Exposures

It is possible to create digital multiple exposure images in Elements, but because the Load Files into Stack command is not available, it takes a bit of extra work Replace Step 1 from the pre-ceding process as follows:

must hold the Shift key for proper image alignment

the ability to create digital multiple exposures opens up entire worlds of cre-ativity the only downside is the need for a lot of memory, both compact flash card

space as well as computer memory Often it’s a good idea when shooting a multiple

exposure to do it more than once; subtle differences in the amount you moved the

camera can make a huge difference in the success of the image

When shooting multiple exposures, be sure to shoot a blank shot between groupings so that you’ll know where each series begins and ends

Content-Aware Scaling

sometimes when photographing nature, despite your best composition efforts, there’s

more space than you’d like in a certain part of the image, or perhaps you need to output

the image at a certain aspect ratio, such as 4:5 for an 8 × 10 print, but the image itself

was captured as a 2 × 3, which turns into an 8 × 12 unless it’s cropped Content-aware

scale lets you have Photoshop automatically compress certain areas of your image it

can seem rather magical in certain situations ideally it needs an image that has areas

with a lot of detail and areas with less detail for example, consider the image in

fig-ure 9.43

Figure 9.43 This image lends itself to the use of Content-Aware Scale because of the extra space in the background.

Using Content-Aware Scale is easy enough:

Click on any handle and drag inward or outward

3. to remove the transparent pixels after you’re finished scaling, go to image >

trim and check the appropriate squares, then click Ok

if you drag the handles too far, you’ll see your main subject matter become dis-torted We can only compress this image a small amount, as shown in figure 9.44, before the penguins begin to show signs of distortion Going further causes extreme distortion

Figure 9.44 Initially it appears we

can only scale this image a small amount; going farther distorts the

However, by making a selection first, you can alert Photoshop to areas that you want to protect that way when it applies the compression, it avoids compressing the

selected areas as much as possible

to protect certain areas during a Content-aware scale, take these steps:

undistorted and areas you want to protect in this case, i made a quick selection

of the two main penguins

2. Go to select > save selection, name the selection, and save it

3. Go to select > Deselect

4. Go to edit > Content-aware scale On the tool Options bar in the Protect

drop-down, choose your selection as shown in figure 9.45 now when you pull the handles, you can compress (or stretch) the image much farther without distort-ing the subject

Figure 9.45 By protecting the penguins, I was able to compress the background much farther

and still have a natural-looking image

Content-aware scale can produce remarkable results, far more natural-looking than if you simply resized the image without constraining the proportions, and with-out cropping with-out the background

Note: In the tool Options bar there is a small icon with a human figure on it next to the Pro-tect drop-down Clicking this icon instructs Photoshop to proPro-tect skin tones while scaling the image

That way any human in the image won’t be distorted

For Photoshop Elements Users: Recompose

Elements has its own version of Content-Aware Scale, called Recompose It’s quite easy to use:

1. Select Image > Recompose

2. In the tool Options bar, there are four brush options From left to right, these are Mark for Protection, Erase Highlights Marked for Protection, Mark for Removal, and Erase High-lights Marked for Removal Use the Mark for Protection and Mark for Removal brushes to draw on areas that shouldn’t be scaled or could be removed to give Elements a hint about how to best recompose your image Use the Erase brushes to remove any extra brush strokes

3. To automatically flag any skin tones as protected areas, press the Highlight Skin tones button in the tool Options bar

4. Drag the handles around your image to recompose it manually, or use the fields in the Tool Options bar to specify specific sizes to recompose the image to

5. Click the green check mark to accept your changes or the red cancel button to dismiss your changes

Note: The key to any creative endeavor is to wonder “what if …” and then find out

the number of ways to modify an image to creatively express your vision is lim-ited only by your imagination and time the more familiar you become with the basic and the more-advanced adjustments, filters, and blending modes in Photoshop, the

For Photoshop Elements Users: Recompose

Elements has its own version of Content-Aware Scale, called Recompose It’s quite easy to use:

Protection, Erase Highlights Marked for Protection, Mark for Removal, and Erase

Removal brushes to draw on areas that shouldn’t be scaled or could be removed to give Elements a hint about how to best recompose your image Use the Erase brushes to remove any extra brush strokes

Options bar to specify specific sizes to recompose the image to

changes

more freedom and ability you’ll have to express what you feel in addition to what you

saw this chapter has only touched the tip of the iceberg in terms of what you can do

with your images We hope you’ll use these ideas as a starting point to create

imagina-tive versions of some of your own photographs

P hoto by J osh A non